Originally, Logos was recorded on the sixth of november 1982, at the London Dominion theatre, and later on, pieces were cut into two parts on the initial vinyl release - one lenghty piece on the 1994 cd release. Logos (Parts 1-2) lasts for 45 minutes and the encore, Dominion, named after the venue, is only five minutes long.
Part 1 starts with an introduction of the band. The announcer thanks the audience for being patient, as the band went on stage, much later than initially planned.
The track melodramatically begins with spluttering synths and a sinisterly repeated melody line.
This part could be heard at concerts one year prior to this show, in an extended and more mean version. And the fact that TD played extremely loud during the early eighties, could only increase the feeling of the mood, in a physical way. Electronic Body Music? Yes, I do think so.
But it isn't that dark all the way through. A little later, a beautiful, sad melody is heard. To be in the audience and to witness it, must have been truly touching. People doesn't hesitate to give a round of applause, although one note insistantly keeps it going.
It's probably Chris Franke who press the key. In an interview from the seventies, he once said, he was annoyed by the fact, that people began clapping in the very moment their lenghty excursions had died out, as they truly deserved some minute's silence!
A way to avoid people from clapping at the wrong time, he thought it would work, if he kept a note going on for a couple of minutes, instead.
Then we're at the coolest part of the album. A cleverly programmed drum pattern is accompanied by a sample (it almost sounds as scratching), with the words "Wake Up!" repeated several times.
The final part of Logos Part 1 has a very beautiful melody, and belongs in the category of TD classics. Need I say more?
Side two also opens sombrely, and continues like that for a while, until minimalistc, bleeping sounds creates a more pleasant atmosphere, without being decidedly happy.
The track gets evil again, and suddenly it's abrupted by lone drum machines, playing complex polyrhythmic patterns. Some synths break in and creates a more neutral atmosphere, and they go on for some time.
This part was, at the shows on the Logos tour, topped by impressive and lively solos. Really awesome, and quite a shame TD wanted a more stripped down arrangement on record. The solos are lost somewhere in the mix, which the audience recording of the show (TL vol. 1) reveals.
Then comes the finale which sums up the melancholia, defining the album all the way through.
The final track, named Dominion after the location, isn't really sad. This encore is a blithering, poppy melody, which I associate with an Amiga CD-32 game, called Oscar, I once had.
This isn't bad criticsm, as it works as an excellent cheerful coda, upon a grand and melancholic masterpiece.
The album shows the band on stage with the huge supply of equipment, and for some reason I find those pictures arousing!